LPO/MarqueeTV digital concert programme: Fantastic Symphony - 13 Nov 2021 by London Philharmonic Orchestra

2021/22 concert season Filmed live at the Southbank Centre’s Royal Festival Hall

Digital concert programme Fantastic Symphony

Broadcast Saturday 13 November 2021 Lutosławski Cello Concerto Berlioz Symphonie fantastique Edward Gardner conductor Nicolas Altstaedt cello

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Contents Click on the headings to jump to a section

3 Programme notes: Lutosławski 5 Programme notes: Berlioz 6 Recommended recordings 7 On stage 8 Edward Gardner 9 Nicolas Altstaedt 10 London Philharmonic Orchestra 11 Leader: Pieter Schoeman 12 Thank you 14 Sound Futures donors 15 LPO administration

Concert performed at the Southbank Centre’s Royal Festival Hall on 1 October 2021 and filmed by Intersection. The safety of our musicians and staff is paramount, and all performances and activities adhere strictly to safety measures in line with UK Government guidance. The LPO would like to acknowledge the generosity of all of its members, supporters and donors. Thank you for your support. This performance has been made possible through a grant from the Cultural Recovery Fund from the Department of Digital, Culture, Media and Sport. #HereForCulture

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Programme notes Witold Lutosławski 1913–94

Cello Concerto 1968–70 Nicolas Altstaedt cello Witold Lutosławski was the leading Polish composer of the second half of the 20th century. After suffering from state censorship in the early part of his career, he benefitted from a later cultural thaw, which allowed him to produce a series of works of striking originality and expressive force. One of the most frequently performed of these is the Cello Concerto, which he wrote between 1968 and 1970. It was commissioned by the Royal Philharmonic Society, who presented the first performance here at the Royal Festival Hall in October 1970. But it was principally a response to sustained pressure for a concerto from the soloist at that premiere (and the work’s dedicatee), the great Russian cellist Mstislav Rostropovich. ‘I am still young as an artist,’ Lutosławski recalled Rostropovich saying, ‘and I have already played the entire cello repertoire; now I would like to play such music as I have never played before.’

However, these textures, and Lutosławski’s equally original harmonic techniques, are used in the service of his innovative treatment of form, which owes little to traditional models and relies on a strong sense of abstract narrative. The soloist is cast as an individual thrown into confrontation with the might of the large Witold Lutosławski Photo © Suzie E Maeder

The Concerto fulfilled this request in more ways than one. The solo part stretches the technique of the performer, not only along conventional lines but also in its use of glissandi (slides) and quarter-tones, usually filling in the gaps in little fragments of chromatic scales. There are some quarter-tones in the orchestral parts as well, but their chief novelty – not brand new, but a feature of Lutosławski’s works from the early 1960s – is the use of what is sometimes called ‘controlled aleatoricism’. In many sections, there are no bar-lines, and individual players play without reference to a beat or to what other players are doing; the conductor acts not as a timebeater but as a co-ordinator, giving signals to start and stop. This has nothing to do with chance procedures or improvisation, as is often assumed, but is simply a method of creating complex textures that could not be produced by any other method of notation.

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Programme notes orchestra – which the Soviet dissident Rostropovich saw as portraying the position of the individual in a totalitarian state, though Lutosławski was at pains to discourage such political interpretations.

or trombones, or both, which are met by the soloist with a return to their former indifference or with silence. The ‘cantilena’ is a lyrical interlude in which the soloist asserts his or her identity in a singing line, inflected by grace-notes, against a background of solo strings, and later of larger orchestral groups. At the end of this movement, the soloist sweeps up all the orchestral strings into their melodic line as it makes a gradual acceleration, only to run into a wall of orchestral sound, led by the brass. This is the start of the ‘finale’, in which the soloist attempts to respond to this new challenge with defiant interjections and a hectic episode suggesting a chase scene. The orchestra appears to prevail, leaving the cello playing a series of lamenting wails. But in a short Presto coda, the solo instrument rises unchallenged from its lowest register to its highest, finally sounding a series of repeated high As, its initial indifference now transformed into triumph.

In a letter to Rostropovich, subsequently made public, the composer summed up the work as in four movements, played without a break: introduction, four episodes, cantilena and finale (though these titles do not appear anywhere in the score). The ‘introduction’ is an extended solo cadenza, beginning with repeated Ds marked ‘indifferent’, breaking away from them in excursions of contrasting character, but always returning to them. The ‘four episodes’ are a series of dialogues between the soloist and different groups of instruments within the orchestra: these are mostly collaborative in tone, but the four episodes are framed and separated by raucous challenges from trumpets

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Programme notes Hector Berlioz 1803–69

Symphonie fantastique 1830

1 Rêveries, Passions (Daydreams, Passions): Largo – Allegro agitato e appassionato assai 2 Un bal (A Ball): Valse. Allegro non troppo 3 Scène aux champs (Scene in the Country): Adagio 4 Marche au supplice (March to the Scaffold): Allegretto non troppo 5 Songe d’une nuit du sabbat (Dreams of a Witches’ Sabbath): Larghetto – Allegro – Un peu retenu The first performance of Berlioz’s ‘Fantastic Symphony’ in Paris in December 1830 was a decisive moment in the history of musical Romanticism – and in the composer’s own life. The work was a public expression of his passion, from afar, for the Irish actress Harriet Smithson, whom he had seen in 1827 performing Shakespeare’s Ophelia and Juliet with a visiting English company, and of his later disillusion at rumours that she was involved in a liaison with the manager of the company. By 1830 Harriet had left Paris; but in December 1832 she was in the audience when Berlioz repeated the Symphony together with its sequel, Lélio, or The return to life. Shortly afterwards, she met the composer for the first time; and in October 1833 they were married – though not, alas, to live happily ever after.

These disparate elements, however, are fused together in the searing heat of Berlioz’s imagination into a score of remarkable coherence and power. What was so striking about it at the time was not simply the originality and freshness of Berlioz’s musical language, nor even the varied colours and sheer forcefulness of his orchestral writing, but above all the way in which at a stroke it brought Romanticism into the concert hall. Berlioz’s famous instrumental effects – offstage oboe in the ‘Scène aux champs’ and offstage bells in the finale, chords on four timpani, notated glissandi (slides), and much more – were of the kind that were beginning to be employed in the opera house, but that had not before been heard in the traditional medium of the symphony. Equally new was, not the idea of a narrative symphony (which can be traced back before Beethoven to Dittersdorf), but the kind of sensational, quasiautobiographical programme that underlies the Symphonie fantastique.

The Symphony was composed in no more than a few months in 1830; but Berlioz’s task was lightened by his use of pre-existing material. The opening melody of the introduction, by his own account, comes from a song that he had written in his childhood; the idée fixe at the heart of the work was borrowed from his Prix de Rome cantata Herminie; scholars have suggested that the ‘Marche au supplice’ was lifted from the score of his unperformed opera Les Francs-juges; and the melody of the ‘Scène aux champs’ is now known to come from the ‘Gratias agimus’ of his early and long-lost Messe solennelle, rediscovered in Antwerp in 1992.

Berlioz had this distributed to audiences in various forms on different occasions; but in outline it describes an ‘Episode in the life of an artist’, a young musician obsessively in love with a woman who corresponds to the ideal being of his dreams. She is represented by the idée fixe, the long melody that begins the main Allegro of the first movement, and that thereafter recurs in different contexts in transformed versions. The first

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Programme notes movement is called ‘Daydreams, Passions’: its introduction depicts the restless state of mind of the protagonist before he first sets eyes on his beloved; the main Allegro portrays the conflicting emotions she inspires in him. In the second movement, a brilliant waltz, he tries to find distraction at ‘A Ball’, and in the slow third movement he seeks out the peace of a ‘Scene in the Country’, with two shepherds piping to each other: but in both places he is still haunted by thoughts of her. In the fourth movement, in a delirious opium dream, he imagines that he has killed his beloved, and is being led to execution in a ‘March to the Scaffold’. And the finale is a ‘Dream of a Witches’ Sabbath’, in which he watches her taking part in a wild round-dance, its strains mingled with the funeral chant of the Dies irae.

In our LPO podcast, LPO Offstage, presenter YolanDa Brown chats with members of the Orchestra about life in the LPO.

Lutosławski & Berlioz programme notes © Anthony Burton

This autumn sees the launch of Series 3, with the first new episode taking a deep dive into Berlioz’s Symphonie fantastique with LPO oboist Alice Munday and Co-Principal Percussionist Henry Baldwin.

Recommended recordings of tonight’s works

Catch up on Series 1 and 2 of LPO Offstage free on Apple Podcasts, Spotify, Acast, or wherever you listen.

Lutosławski: Cello Concerto Paul Watkins | BBC Symphony Orchestra Edward Gardner (Chandos) or Andrej Bauer | Polish National Radio Orchestra Jacek Kaspszyk (Fryderyk Chopin Institute)

• Highly commended in the 2020 Digital Classical Music Awards • The Sunday Times ‘Pick of the Best Podcasts’

Berlioz: Symphonie fantastique Los Angeles Philharmonic | Gustavo Dudamel (Deutsche Grammophon) or Scottish Chamber Orchestra | Robin Ticciati (Linn Records)

lpo.org.uk/podcast YolanDa Brown

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

On stage First Violins

Pieter Schoeman* Leader Chair supported by Neil Westreich

Kate Oswin

Chair supported by Friends of the Orchestra

Lasma Taimina

Chair supported by Irina Gofman & Mr Rodrik V. G. Cave

Minn Majoe Katalin Varnagy

Chair supported by Sonja Drexler

Yang Zhang

Chair supported by Eric Tomsett

Martin Höhmann

Chair supported by Chris Aldren

Rasa Zukauskaite Thomas Eisner Amanda Smith Morane Cohen-Lamberger Nilufar Alimaksumova Eleanor Bartlett Georgina Leo Catherine Craig Gabriela Opacka

Second Violins

Tania Mazzetti Principal Chair supported by Countess Dominique Loredan

Emma Oldfield Helena Smart Joseph Maher Marie-Anne Mairesse Nynke Hijlkema Kate Birchall Fiona Higham

Chair supported by David & Yi Buckley

Nancy Elan Sioni Williams Sarah Thornett Anna Croad Lyrit Milgram Sheila Law

Violas

David Quiggle Principal Ting-Ru Lai Benedetto Pollani Katharine Leek Laura Vallejo

Stanislav Popov Martin Wray Charles Cross Rachel Benjamin Alistair Scahill Richard Cookson Julia Kornig

Oboes

Cellos

Sue Böhling* Principal

Chair supported by Bianca & Stuart Roden

Offstage Oboe

Ian Hardwick* Principal Alice Munday Jennifer Brittlebank Sue Böhling*

Cor Anglais

Chair supported by Dr Barry Grimaldi

Kristina Blaumane Principal Pei-Jee Ng Co-Principal Francis Bucknall David Lale Gregory Walmsley Elisabeth Wiklander Helen Rathbone Tom Roff Laura Donoghue George Hoult

Kevin Rundell* Principal Sebastian Pennar Hugh Kluger George Peniston Tom Walley Laura Murphy Charlotte Kerbegian Lowri Morgan

Bass Clarinet

Percussion

Bassoons

Harps

John Ryan* Principal Martin Hobbs Mark Vines Co-Principal Gareth Mollison James Pillai Guest Principal

Chair supported by Caroline, Jamie & Zander Sharp

Trumpets

Hannah Grayson

Paul Beniston* Principal James Fountain* Principal Anne McAneney* David Hilton

Jonathan Philips

Emma Burgess

Horns

Stewart McIlwham* Principal Juliette Bausor

Chair supported by Victoria Robey OBE

Andrew Barclay* Principal Henry Baldwin Co-Principal Keith Millar Jeremy Cornes Feargus Brennan

Simon Estell* Principal

Piccolos

Tubas

Simon Carrington* Principal

Contrabassoon

Hannah Grayson Stewart McIlwham*

Lyndon Meredith Principal

Benjamin Mellefont Principal Emma Burgess Paul Richards*

Gareth Newman Simon Estell* Patrick Bolton

Chair supported by Caroline, Jamie & Zander Sharp

Bass Trombone

Timpani

Chair supported by Sir Simon Robey

Juliette Bausor Principal

David Whitehouse

Clarinets

Jonathan Davies Principal

Flutes

Chair supported by William & Alex de Winton

Alice Munday

E flat Clarinet

Co-Principal

Mark Templeton* Principal

Grady Hassan Guest Principal Adam Collins

Paul Richards* Principal

Double Basses

Trombones

Rachel Masters Principal Anne Denholm Emma Ramsdale Ruth Faber

Piano

Catherine Edwards

Celeste

Fionnuala Ward

Assistant Conductor Toby Thatcher

* Holds a professorial appointment in London Chair supported by Roger Greenwood

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Edward Gardner Principal Conductor, London Philharmonic Orchestra

the City of Birmingham Symphony Orchestra, where he was Principal Guest Conductor from 2010–16, and the BBC Symphony Orchestra, whom he has conducted at both the First and Last Night of the BBC Proms.

Music Director of English National Opera for ten years (2006–15), Edward has an ongoing relationship with New York’s Metropolitan Opera, where he has conducted productions of La damnation de Faust, Carmen, Don Giovanni, Der Rosenkavalier and Werther. In London he has future plans with the Royal Opera House, where he made his debut in 2019 in a new production of Káťa Kabanová and returned for Werther the following season. The 2021/22 season will see Edward make his debut with the Bayerische Staatsoper in a new production of Peter Grimes. Elsewhere, he has conducted at La Scala, Chicago Lyric Opera, Den Norske Opera and Ballet, Glyndebourne Festival Opera and Opéra National de Paris.

Edward Gardner began his tenure as Principal Conductor of the London Philharmonic Orchestra in September 2021; he is also Chief Conductor of the Bergen Philharmonic, a position he has held since October 2015.

A passionate supporter of young talent, Edward founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra of Great Britain. He has a close relationship with The Juilliard School of Music and with the Royal Academy of Music, who appointed him their inaugural Sir Charles Mackerras Conducting Chair in 2014.

During the 2021/22 season Edward will conduct the London Philharmonic Orchestra in eleven concerts at the Royal Festival Hall, including five UK premieres. In September 2021 he and the LPO appeared at the Enescu Festival in Bucharest, and in November 2021 they will undertake an extensive tour of Germany.

Born in Gloucester in 1974, Edward was educated at the University of Cambridge and the Royal Academy of Music. He went on to become Assistant Conductor of the Hallé and Music Director of Glyndebourne Touring Opera. His many accolades include being named Royal Philharmonic Society Award Conductor of the Year (2008), an Olivier Award for Outstanding Achievement in Opera (2009) and receiving an OBE for Services to Music in the Queen’s Birthday Honours (2012).

Edward opened the Bergen Philharmonic season in September 2021 with a performance of John Adams’s Harmonium. Further highlights include an all-Stravinsky programme and new commissions by Thomas Larcher, Ryan Wigglesworth and Rebecka Ahvenniemi. Following recent tours to Berlin, Munich, Amsterdam and at the BBC Proms and Edinburgh International Festival, the orchestra will perform in Barcelona and Paris this season. In demand as a guest conductor, the previous two seasons saw Edward debut with the Bavarian Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, Philadelphia Orchestra, San Francisco Symphony, Rundfunk-Sinfonieorchester Berlin, Royal Stockholm Philharmonic and Wiener Symphoniker; while returns included engagements with the Gewandhausorchester Leipzig, Montreal Symphony, Deutsches Symphonie-Orchester Berlin, Philharmonia Orchestra and Orchestra del Teatro alla Scala di Milano. He also continued his longstanding collaborations with

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Nicolas Altstaedt cello

all the BBC orchestras, with conductors such as Gustavo Dudamel, Sir Roger Norrington, Lahav Shani, François-Xavier Roth and Robin Ticciati. He also performs with period orchestras such as Il Giardino Armonico under Giovanni Antonini, Andrea Marcon and Philippe Herreweghe.

As a conductor, Nicolas Altstaedt works closely with the Scottish Chamber Orchestra and has also conducted the SWR Symphonieorchester, Orchestre Philharmonique de Radio France, Aurora Orchestra and Munich Chamber Orchestra in recent seasons. Joint appearances with composers such as Thomas Adès, Jörg Widmann, Wolfgang Rihm, Thomas Larcher, Fazıl Say and Sofia Gubaidulina have also consolidated his reputation as an outstanding interpreter of contemporary music. Sebastian Fagerlund, Anders Hillborg, Helena Winkelman and Fazıl Say have recently written concertos for him.

German-French cellist Nicolas Altstaedt is one of the most sought-after and versatile artists today. As a soloist, conductor and artistic director he performs repertoire spanning from early music to contemporary works, playing on period and modern instruments. In September 2021 he made his LPO debut on tour with the Orchestra and Edward Gardner at the Enescu Festival in Bucharest.

In 2012 Nicolas Altstaedt succeeded Gidon Kremer as Artistic Director of the Lockenhaus Chamber Music Festival, and in 2014 he succeeded Ádám Fischer as Artistic Director of the Haydn Philharmonic in Austria. As a chamber musician, Nicolas’s regular partners include Janine Jansen, Vilde Frang, Pekka Kuusisto, Lawrence Power, Antoine Tamestit, Alexander Lonquich, Jonathan Cohen, Jean Rondeau and the Ébène Quartet. He has performed at Salzburg’s Mozart and Summer festivals, the BBC Proms, Musikfest Bremen, and the Verbier and Lucerne festivals.

During the 2019/20 season Nicolas was Artist-in-Focus at the Alte Oper in Frankfurt, and Artist-in-Residence at the SWR Symphonieorchester with Teodor Currentzis. Other recent highlights include concerto debuts with the Detroit Symphony Orchestra, Washington’s National Symphony Orchestra and Tokyo’s NHK and Yomiuri symphony orchestras, as well as re-invitations to the Deutsches Symphonie-Orchester Berlin, the Rotterdam Philharmonic and the Finnish Radio Symphony Orchestra, and a tour with B’Rock and René Jacobs. He made recital debuts at BOZAR in Brussels, Carnegie Hall and Park Avenue Armory in New York, the Théâtre des Champs-Élysées in Paris and Koerner Hall in Toronto. During the 2017/18 season he gave the highlyacclaimed Finnish premiere of Esa-Pekka Salonen’s Cello Concerto under the baton of the composer at the Helsinki Festival, and was ‘Artist in Spotlight’ at the Amsterdam Concertgebouw and the NDR Elbphilharmonieorchester in Hamburg.

Nicolas has received numerous prizes including the Beethovenring Bonn 2015 and the Musikpreis der Stadt Duisburg 2018. His recent chamber recording from the Lockenhaus Festival garnered the BBC Music Magazine 2020 Chamber Award and 2020 Gramophone Award. He received the BBC Music Magazine Concerto Award in 2017 for his recording of CPE Bach Concertos with Arcangelo and Jonathan Cohen on Hyperion, and the Edison Klassiek 2017 for his recital recording with Fazıl Say on Warner Classics. Nicolas was a recipient of the Credit Suisse Award in 2010 and was a BBC New Generation Artist from 2010–12.

Nicolas performs regularly with the most renowned orchestras around the world, including the Vienna Philharmonic and Vienna Symphony, the Tonhalle Orchestra Zurich, the Orchestre Philharmonique de Radio France and Orchestre National de France, and

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

London Philharmonic Orchestra

the Orchestra takes up its annual residency at Glyndebourne Festival Opera, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra.

One of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with its reputation as one of the UK’s most forward-looking ensembles. As well as its concert performances, the Orchestra also records film soundtracks, releases CDs and downloads on its own label, and reaches thousands of people every year through activities for families, schools and local communities.

The London Philharmonic Orchestra has recorded many blockbuster film scores, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 100 releases available on CD and to download. Recent highlights include Shostakovich’s Symphony No. 11 and Mahler’s Symphony No. 8 under Vladimir Jurowski, and a commemorative box set of historic recordings with former Principal Conductor Sir Adrian Boult.

The Orchestra was founded by Sir Thomas Beecham in 1932, and has since been headed by many great conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. In September 2021 Edward Gardner became the Orchestra’s Principal Conductor, succeeding Vladimir Jurowski, who became Conductor Emeritus in recognition of his transformative impact on the Orchestra as Principal Conductor from 2007–21. Karina Canellakis is the Orchestra’s current Principal Guest Conductor and Brett Dean is the Orchestra’s current Composer-in-Residence.

In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble.

The Orchestra is resident at the Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. It also enjoys flourishing residencies in Brighton, Eastbourne and Saffron Walden, and performs regularly around the UK. Each summer

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Pieter Schoeman

The London Philharmonic Orchestra is committed to inspiring the next generation of musicians, and recently celebrated the 30th anniversary of its Education and Community department, whose work over three decades has introduced so many people of all ages to orchestral music and created opportunities for people of all backgrounds to fulfil their creative potential. Its dynamic and wide-ranging programme provides first musical experiences for children and families; offers creative projects and professional development opportunities for schools and teachers; inspires talented teenage instrumentalists to progress their skills; and develops the next generation of professional musicians. The Orchestra’s work at the forefront of digital technology has enabled it to reach millions of people worldwide. Over the pandemic period the LPO further developed its relationship with UK and international audiences through its ‘LPOnline’ digital content: over 100 videos of performances, insights, and introductions to playlists, which collectively received over 3 million views worldwide and led to the LPO being named runner-up in the Digital Classical Music Awards 2020. From Autumn 2020 the Orchestra was delighted to be able to return to its Southbank Centre home to perform a season of concerts filmed live and streamed free of charge via Marquee TV.

Leader

Pieter Schoeman was appointed Leader of the London Philharmonic Orchestra in 2008, having previously been Co-Leader since 2002. He is also a Professor of Violin at Trinity Laban Conservatoire of Music & Dance. Pieter has performed worldwide as a soloist and recitalist in such famous halls as the Concertgebouw in Amsterdam, Moscow’s Rachmaninov Hall, Capella Hall in St Petersburg, Staatsbibliothek in Berlin, Hollywood Bowl in Los Angeles and London’s Royal Festival Hall. As a chamber musician he regularly appears at London’s prestigious Wigmore Hall. His chamber music partners have included Anne-Sophie Mutter, Veronika Eberle, Patricia Kopatchinskaja, Boris Garlitsky, JeanGuihen Queyras, Yannick Nézet-Séguin and Martin Helmchen.

September 2021 saw the opening of a new live concert season at the Royal Festival Hall, featuring many of the world’s leading musicians including Sheku KannehMason, Klaus Mäkelä, Renée Fleming, Bryn Terfel and this season’s Artist-in-Residence, Julia Fischer. The Orchestra is delighted to be continuing to offer digital streams to selected concerts throughout the season through its ongoing partnership with Intersection and Marquee TV.

Pieter has performed numerous times as a soloist with the London Philharmonic Orchestra. Highlights have included an appearance as both conductor and soloist in Vivaldi’s Four Seasons at the Royal Festival Hall, the Brahms Double Concerto with Kristina Blaumane, and the Britten Double Concerto with Alexander Zemtsov, which was recorded and released on the LPO Label to great critical acclaim.

lpo.org.uk

Pieter has appeared as Guest Leader with the BBC, Barcelona, Bordeaux, Lyon and Baltimore symphony orchestras, and the Rotterdam and BBC Philharmonic orchestras. Pieter’s chair in the LPO is generously supported by Neil Westreich.

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Thank you We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle Anonymous donors Mrs Aline Foriel-Destezet Mrs Christina Lang Assael Sir Simon & Lady Robey OBE

Orchestra Circle The Candide Trust William & Alex de Winton Mr & Mrs Philip Kan Neil Westreich The American Friends of the London Philharmonic Orchestra

Principal Associates An anonymous donor Richard Buxton Gill & Garf Collins In memory of Brenda Lyndoe Casbon In memory of Ann Marguerite Collins Hamish & Sophie Forsyth The Tsukanov Family

Associates Anonymous donors Steven M. Berzin Ms Veronika BorovikKhilchevskaya Irina Gofman & Mr Rodrik V. G. Cave The Lambert Family Charitable Trust Countess Dominique Loredan Mr & Mrs Makharinsky George Ramishvili Stuart & Bianca Roden Julian & Gill Simmonds In memory of Hazel Amy Smith Deanie & Jay Stein

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London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Thank you

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Hon. Benefactor Elliott Bernerd

Hon. Life Members Alfonso Aijón Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE Laurence Watt

LPO International Board of Governors Natasha Tsukanova Chair Steven M. Berzin (USA) Veronika Borovik-Khilchevskaya (Cyprus) Marie-Laure Favre Gilly de Varennes de Bueil (France) Aline Foriel-Destezet (France) Irina Gofman (Russia) Countess Dominique Loredan (Italy) Olivia Ma (Greater China Area) Olga Makharinsky (Russia) George Ramishvili (Georgia) Victoria Robey OBE (USA) Jay Stein (USA)

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Trusts and Foundations

Barclays CHANEL Fund for Women in the Arts and Culture Pictet Bank

The Boltini Trust Borrows Charitable Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The London Community Foundation The David Solomons Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Ernst von Siemens Music Foundation The Fidelio Charitable Trust Foyle Foundation Garrick Charitable Trust The Leche Trust Lucille Graham Trust John Horniman’s Children’s Trust John Thaw Foundation The Idlewild Trust Kirby Laing Foundation Adam Mickiewicz Institute PRS Foundation The Radcliffe Trust Rivers Foundation The R K Charitable Trust Romanian Cultural Institute Rothschild Foundation RVW Trust Schroder Charity Trust Serge Rachmaninoff Foundation Souter Charitable Trust The Stanley Picker Trust The Thomas Deane Trust The Thriplow Charitable Trust The Vaughan Williams Charitable Trust The Victoria Wood Foundation The Viney Family The Barbara Whatmore Charitable Trust The William Alwyn Foundation

LPO Corporate Circle Leader freuds Sunshine

Principal Berenberg Bloomberg Carter-Ruck French Chamber of Commerce

Thomas Beecham Group Members

Tutti Lazard Russo-British Chamber of Commerce Walpole

Chris Aldren David & Yi Buckley Gill & Garf Collins William & Alex de Winton Sonja Drexler The Friends of the LPO Irina Gofman Roger Greenwood Dr Barry Grimaldi Mr & Mrs Philip Kan John & Angela Kessler Countess Dominique Loredan Sir Simon Robey Victoria Robey OBE Bianca & Stuart Roden Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Eric Tomsett Neil Westreich Guy & Utti Whittaker

Trialist Allianz Musical Insurance

Preferred Partners Gusbourne Estate Lidl Lindt & Sprüngli Ltd London Orthopaedic Clinic Steinway

In-kind Sponsor Google Inc

We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America:

and all others who wish to remain anonymous. The LPO would also like to acknowledge all those who have made donations to the Play On Appeal and who have supported the Orchestra during the COVID-19 pandemic.

Simon Freakley Chairman Jay Goffman Alexandra Jupin William A. Kerr Kristina McPhee Natalie Pray Damien Vanderwilt Elizabeth Winter Victoria Robey OBE Hon. Director Jenifer L. Keiser, CPA, EisnerAmper LLP

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

Sound Futures donors We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures.

Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

Welser-Möst Circle William & Alex de Winton John Ireland Charitable Trust The Tsukanov Family Foundation Neil Westreich

Tennstedt Circle Valentina & Dmitry Aksenov Richard Buxton The Candide Trust Michael & Elena Kroupeev Kirby Laing Foundation Mr & Mrs Makharinsky Alexey & Anastasia Reznikovich Sir Simon Robey Bianca & Stuart Roden Simon & Vero Turner The late Mr K Twyman

Solti Patrons Ageas John & Manon Antoniazzi Gabor Beyer, through BTO Management Consulting AG Jon Claydon Mrs Mina Goodman & Miss Suzanne Goodman Roddy & April Gow The Jeniffer & Jonathan Harris Charitable Trust Mr James R.D. Korner Christoph Ladanyi & Dr Sophia Ladanyi-Czernin Robert Markwick & Kasia Robinski

The Maurice Marks Charitable Trust Mr Paris Natar The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Lady Jane Berrill Mr Frederick Brittenden David & Yi Yao Buckley Mr Clive Butler Gill & Garf Collins Mr John H Cook Mr Alistair Corbett Bruno De Kegel Georgy Djaparidze David Ellen Christopher Fraser OBE David & Victoria Graham Fuller Goldman Sachs International Mr Gavin Graham Moya Greene Mrs Dorothy Hambleton Tony & Susie Hayes Malcolm Herring Catherine Høgel & Ben Mardle Mrs Philip Kan Rehmet Kassim-Lakha de Morixe Rose & Dudley Leigh Lady Roslyn Marion Lyons Miss Jeanette Martin Duncan Matthews QC Diana & Allan Morgenthau Charitable Trust Dr Karen Morton Mr Roger Phillimore Ruth Rattenbury The Reed Foundation The Rind Foundation Sir Bernard Rix

David Ross & Line Forestier (Canada) Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker

Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Querée The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker CBE AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra on Marquee TV • 13 November 2021 • Fantastic Symphony

London Philharmonic Orchestra Administration Board of Directors Victoria Robey OBE Chairman Martin Höhmann* President Dr Catherine C. Høgel Vice-Chairman Henry Baldwin* Vice-President Kate Birchall* David Buckley David Burke Bruno De Kegel Deborah Dolce Tanya Joseph Hugh Kluger* Al MacCuish Tania Mazzetti* Stewart McIlwham* Jamie Njoku-Goodwin Andrew Tusa Mark Vines* Neil Westreich Simon Freakley (Ex officio – Chairman of the American Friends of the London Philharmonic Orchestra) *Player-Director

Advisory Council Martin Höhmann Chairman Robert Adediran Christopher Aldren Dr Manon Antoniazzi Roger Barron Richard Brass Helen Brocklebank Simon Callow CBE Desmond Cecil CMG Sir Alan Collins KCVO CMG Andrew Davenport Guillaume Descottes Cameron Doley Christopher Fraser OBE Lord Hall of Birkenhead CBE Jonathan Harris CBE FRICS Marianna Hay MBE Amanda Hill Rehmet Kassim-Lakha Jamie Korner Geoff Mann Clive Marks OBE FCA Stewart McIlwham Andrew Neill Nadya Powell Sir Bernard Rix Victoria Robey OBE Baroness Shackleton Thomas Sharpe QC

Finance

Julian Simmonds Barry Smith Martin Southgate Chris Viney Laurence Watt Elizabeth Winter

Frances Slack Finance Director Dayse Guilherme Finance Manager Jean-Paul Ramotar Finance and IT Officer

General Administration Elena Dubinets Artistic Director David Burke Chief Executive Chantelle Vircavs PA to the Executive

Education and Community Talia Lash Interim Education and Community Director Rebecca Parslow Education and Community Project Manager

Concert Management Roanna Gibson Concerts Director

Hannah Foakes Tilly Gugenheim Education and Community Project Co-ordinators

Graham Wood Concerts and Recordings Manager Fabio Sarlo Glyndebourne and Projects Manager

Development Laura Willis Development Director

Grace Ko Tours Manager

Vicky Moran Development Events Manager

Alison Jones Concerts and Recordings Co-ordinator Christina Perrin Concerts and Tours Assistant Matthew Freeman Recordings Consultant

Felix Lo Orchestra and Auditions Manager

Marketing Kath Trout Marketing and Communications Director Mairi Warren Marketing Manager Rachel Williams Publications Manager

Greg Felton Digital Creative Kiera Lockard Marketing Assistant

Archives Philip Stuart Discographer Gillian Pole Recordings Archive

Professional Services Charles Russell Speechlys Solicitors Crowe Clark Whitehill LLP Auditors Dr Barry Grimaldi Honorary Doctor

Mr Brian Cohen Mr Simon Owen-Johnstone Honorary Orthopaedic Surgeons

Kirstin Peltonen Development Associate

Damian Davis Transport Manager

Sophie Harvey Digital and Residencies Marketing Manager

Rosie Morden Individual Giving Manager

Nick Jackman Campaigns and Projects Director

Laura Kitson Stephen O’Flaherty Stage Managers

Ruth Knight Press and PR Manager

Mr Chris Aldren Honorary ENT Surgeon

Priya Radhakrishnan Georgia Wiltshire Development Assistants

Sarah Thomas Martin Sargeson Librarians

Gavin Miller Box Office Manager

Stef Woodford Corporate Relations Manager

Anna Quillin Trusts and Foundations Manager

Andrew Chenery Orchestra Personnel Manager

Harrie Mayhew Website Manager

London Philharmonic Orchestra 89 Albert Embankment London SE1 7TP Tel: 020 7840 4200 Box Office: 020 7840 4242 Email: admin@lpo.org.uk

lpo.org.uk Cover artwork Photographer James Wicks 2021/22 season identity JMG Studio